Medium: original woodcut. Signed in pencil. Catalogue reference: Hofmaier 282 IV BB. Printed in Germany in 1923 for the very rare Kunst der
Gegenwart portfolio, published in Munich by Marées-Gesellschaft, R.
Piper & Co., with the Marées-Gesellschaft blindstamp in the margin.
The printer was Fritz Voigt, of Berlin.
This impression is one of 220 printed on cream wove paper from a total
edition of 300 (consisting of 220 on wove and 80 on japon paper). The
image measures 13 3/4 x 13 inches (350 x 331 mm); the total sheet
measures 20 1/2 x 18 1/2 inches (520 x 472 mm) with full original margins
and deckle edges.

In very good condition; with minor creasing near the edges of the sheet and a tiny pinhole in the space above the figure's right eye (hardly visible).

This is one of several portraits of a mysterious woman called "Naila" that were done by Max Beckmann. It is now known that Naila was Dr. Hildegard Melms, and that Beckmann had an affair with her in 1923, the same year he executed this print. This important German Expressionist woodcut can be found in the permanent collections of the Art Institute of Chicago, the Brooklyn Museum and the Museum of Modern Art (MoMA).

Medium: engraving in the Crayon Manner (also know as the Chalk Manner). This rare and beautiful engraving by Louis-Marin Bonnet employed a technique used before the advent of lithography, using three plates (black, red chalk and white chalk) to achieve the soft and subtle effect of a chalk drawing. Size: 17 1/2 x 13 1/2 inches (image); not including margins. Printed in Paris in 1772.

Condition: there is a small repair to the margin and a few areas of minor wear and creasing to the paper; one spot of foxing to the left of the image and a mat stain (in good condition overall for its age).

Medium: original lithograph. Signed in pencil at the lower right and numbered in red crayon "x218" at the lower left, and inscribed on verso "Reverie" in the same red crayon. This proof is printed on a thin vellum-finish wove paper and is presumed to have been hand-pulled by Belleroche, as the artist was known to do.

The image measures approximately 18 x 14 inches (455 x 355 mm); some ink intrudes into the margin consistent with hand-printing. The total sheet measures 20 x 16 1/2 inches (510 x 420 mm) with irregularly cut edges. Condition: there is some skinning to the surface of the paper on the left side (possibly occurring during printing); some creasing; two minor repaired tears; and a 1 cm hole can be seen near the top which has been repaired at an earlier date. A rare and magnificent piece!

Medium: original etching and drypoint with aquatint and roulette. This is an exquisite impression on japon paper, of what is arguably the most famous Felix Buhot etching. Executed in 1879 and published in Paris in 1881 for L'Art; the catalogue reference is Bourcard/Goodfriend 128. Image size: 9 1/2 x 13 3/4 inches (240 x 350mm). Signed in the plate with the Buhot monogram signature (not by hand). A good price for this impression on special paper, before letters and apart from the standard published edition.

Medium: original etching and drypoint with aquatint and roulette. "L’Hiver a Paris" is also known as "La Neige a Paris". Executed in 1879 and published in Paris in 1881 for L'Art; the catalogue reference is Bourcard/Goodfriend 128. Image size: 9 1/2 x 13 3/4 inches (240 x 350mm). Signed in the plate with the Buhot monogram signature (not by hand). A fine impression on watermarked laid paper of this iconic Buhot etching.

Medium: original etching and drypoint. Catalogue reference: Seeber 194. This impression on japon paper is annotated "trial proof" and pencil-signed and titled in the margin, with George Burr's monogram signature. The published edition consisted of 40 numbered impressions. Plate size: 6 7/8 x 9 7/8 inches (175 x 250 mm). American Impressionist George Elbert Burr is best known for Southwestern Art scenes such as this, and his etchings have become increasingly sought-after.

Condition: In very good condition save for a faint mat stain, and with full original margins.

Medium: etching and drypoint. Catalogue reference Terasse 59. This original Bonnard etching was printed in Paris in 1927 for the hard-to-find Charles Terrasse catalogue raisonné, published by Henri Floury in an edition of 1500. This impression is printed on cream wove paper; the plate size is 8 1/2 x 6 1/4 inches (218 x 160 mm). Signed in the plate with Pierre Bonnard's monogram signature, not hand-signed.

Medium: original lithograph. Catalogue reference: Bouvet 82. This is an interpretation by Pierre Bonnard of one of Paul Cezannes's compositions, published in Paris in 1914 by Bernheim-Jeune for the rare volume "Cezanne". This impression is one of 400 printed on wove paper (from a total edition of 600). The image size is 8 3/4 x 3 1/4 inches (148 x 83 mm) and the total sheet with full original margins measures 15 x 11 inches (383 x 280 mm). Not signed.

Medium: etching with drypoint and roulette. Catalogue reference Bourcard/Goodfriend 123. This impression on cream laid paper is from the edition for "French Etchers", published in New York in 1884. Plate size: 9 1/4 x 12 1/4 inches (235 x 310 mm). Signed in the plate (not by hand).

Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by Andre Clot for the rare "Eloge de Pierre Bonnard" by Leon Werth, published in 1946 by Manuel Bruker.

The lithographs from Eloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 4 1/2 x 5 3/4 inches (115 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.

Note: unlike the standard edition, this impression on japon paper is completely without printed text. This fact, along with its greater rarity, accounts for the difference in price.

Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by Andre Clot for the rare "Eloge de Pierre Bonnard" by Leon Werth, published in 1946 by Manuel Bruker.

The lithographs from Eloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 6 3/8 x 4 7/8 inches (163 x 125mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.

Note: Unlike the standard edition, this impression on japon paper is completely without printed text. This fact, along with its greater rarity, accounts for the difference in price.

Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by Andre Clot for the rare "Eloge de Pierre Bonnard" by Leon Werth, published in 1946 by Manuel Bruker.

The lithographs from Eloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 3/8 x 5 3/4 inches (189 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Signed in the plate (not by hand) -- no impressions were hand-signed.

Medium: original lithograph. Published in 1963 as the frontispiece of the "Braque Lithographe" catalogue raisonne, and printed in Paris by Mourlot Freres. The sheet measures 12 1/2 x 9 1/2 inches (315 x 240 mm). Signed in the stone (not by hand).

Blessed are the Merciful
Medium: lithograph. Published in Berlin in 1916 by Paul Cassirer for Der Bildermann. Printed on wove paper, there is another lithograph and text on back, as issued. The image measures 10 x 8 1/2 inches (255 x 215 mm) not including margins. Signed by Ernst Barlach in the stone (not by hand). This lithograph is in the permanent collection of MoMA (The Museum of Modern Art) in New York.

The Weary One
Medium: lithograph. Published in Berlin in 1916 by Paul Cassirer for Der Bildermann. Printed on wove paper, there is another lithograph on back, as issued. The image measures 11 9/16 x 8 9/16 inches (293 x 217 mm) with full original margins. Signed by Ernst Barlach in the stone (not by hand). This lithograph is in the permanent collection of MoMA (The Museum of Modern Art) in New York.

Medium: original lithograph. This is the second printing (deuxieme tirage) of this striking Georges Braque composition, for the portfolio "San Lazzaro et ses amis", published in Paris. A number of important artists collaborated together on this project, in homage to Gualtieri di San Lazzaro, founder of the deluxe art revuel XXe Siecle (Chroniques du Jour), and an instrumental figure in the Paris art world, as a publisher, critic and friend to many of the 20th Century's great printmakers. Among the artists represented are Pablo Picasso, Georges Braque, Zao Wou-ki, Joan Miro, Marc Chagall, Graham Sutherland, Rene Magritte, Hans Hartung, Lucio Fontana, Alberto Magnelli, Henry Moore, Serge Poliakoff and Max Bill.

This is a fine impression on quality Arches wove paper with deckle edges, printed in Paris in 1975 by Mourlot Freres, in a limited edition of 575. The total sheet measures 14 x 10 1/4 inches (355 x 260mm). Not signed. The first printing was published by XXe Siecle in 1958; interestingly, this second impression is more scarce and printed on a finer quality of paper.

Medium: original lithograph. This impression is from the edition of 180 printed on Arches cream wove paper (a small edition of 20 were printed on japon paper, for a total edition of 200). All were printed by Andre Clot for the rare "Eloge de Pierre Bonnard" by Leon Werth, published in 1946 by Manuel Bruker.

The lithographs from Eloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 3/4 x 5 3/4 inches (198 x 148mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.

Medium: original lithograph. This impression is from the edition of 180 printed on Arches cream wove paper (a small edition of 20 were printed on japon paper, for a total edition of 200). All were printed by Andre Clot for the rare "Eloge de Pierre Bonnard" by Leon Werth, published in 1946 by Manuel Bruker.

The lithographs from Eloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 7 3/8 x 5 3/4 inches (189 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Signed in the plate (not by hand) -- no impressions were hand-signed.

Medium: original etching. Executed in 1880, View in Venice is also called "Fondamenta delle Zattere". This impression on cream laid paper was published in 1880 by The American Art Review. Size: 7 x 10 1/4 inches (plate); 180 x 260 mm. Signed in the plate (not by hand). This well-known Otto Bacher etching is considered one of his finest.

Medium: mezzotint engraving (engraved by John Jones after the William Redmore Bigg painting). The full title is "Dulce Domum or the Return from School". This magnificent print was published in London in 1790 by the painter himself. The image is 17 1/2 x 24 inches, the plate size is 19 x 24 3/4 and the full sheet measures 22 x 28 inches.

Condition: discoloration and a tear to the margin; old glue remains near the top edge of the sheet; and most notably, several scratches and skinned spots to the surface of the paper. Due to its imperfect condition this rare print is offered at a very attractive price.

Medium: original lithograph. This impression is from the very small edition of 20 printed on japon paper (180 were printed on Arches wove paper, for a total edition of 200). All were printed by Andre Clot for the rare "Eloge de Pierre Bonnard" by Leon Werth, published in 1946 by Manuel Bruker.

The lithographs from Eloge are beautiful and subtle -- fine examples of the artist's later work (Bonnard died the next year in 1947). Image size: 5 1/2 x 5 3/4 inches (140 x 145mm); the total sheet measures 12 3/4 x 9 3/4 (325 x 250mm). Not signed -- no impressions were hand-signed.

Note: unlike the standard edition, this impression on japon paper is completely without printed text. This fact, along with its greater rarity, accounts for the difference in price.

Medium: lithograph (after the painting). Printed in 1966 for Derriere le Miroir (issue number 162) and published in Paris by Maeght. This lithograph was done after the Francis Bacon oil painting that was executed the same year for a Paris exhibition. Sheet size: 15 x 11 inches (380 x 278 mm). Not signed.

Medium: lithograph (after the painting). Printed in 1966 for Derriere le Miroir (issue number 162) and published in Paris by Maeght. This lithograph was done after the Francis Bacon oil painting that was executed the same year for a Paris exhibition. Sheet size: 15 x 11 inches (380 x 278 mm). Not signed.

Medium: lithograph (after the painting). Printed in 1966 for Derriere le Miroir (issue number 162) and published in Paris by Maeght. This lithograph was done after the Francis Bacon oil painting that was executed the same year for a Paris exhibition. Sheet size: 15 x 11 inches (380 x 278 mm). Not signed.

Medium: original etching. Signed both in the plate and in pencil. Catalogue reference Fletcher 51. Executed in 1925 and issued in an edition of 106 (not individually numbered). Plate size: 8 3/8 x 6 3/4 inches (215 x 173 mm). A nice impression on watermarked laid paper, the full sheet measures 16 x 10 1/2 inches. Marquett was a wood engraver who also sat for another Brockhurst etching.

Group in a StormMedium: original woodcut. This is a richly inked, dark impression on wove paper issued in 1920 in an edition of 500 for Deutsche Graphiker der Gegenwart (German Printmakers of Today) published by Kurt Pfister in Leipzig, Germany. The image measures 6 3/4 x 4 3/4 inches (170 x 122 mm) with full original margins. Signed by Ernst Barlach in the block (not by hand).

Medium: lithograph (after the painting). Printed in 1966 for Derriere le Miroir (issue number 162) and published in Paris by Maeght. This lithograph was done after the Francis Bacon oil painting that was executed the same year for a Paris exhibition. Image size: 12 1/2 x 10 1/4 inches; Sheet size: 15 x 11 inches (380 x 278 mm). There is text on the back side, as issued. Not signed.

Medium: lithograph (after the gouache). Printed in Paris in 1964 by Mourlot Freres and issued in an edition of 2000 on Arches wove paper. Sheet size: 10 x 7 1/2 inches (255 x 188 mm). This lithograph is from the scarce and lavishly-produced limited edition catalogue, "Prints from the Mourlot Press". Published in 1964 by Mourlot on the occasion of their landmark traveling exhibition, which was sponsored by the French Embassy and The Smithsonian. Not signed.

Medium: etching. Etched by Felix Bracquemond after Corot. Printed in Paris by Delâtre and published by the Gazette des Beaux-Arts in 1861. Image size: 4 7/8 x 5 3/4 inches (122 x 145 mm). This impression was printed on chine-collé paper. Signed in the plate, not hand-signed.

Also known as "Les amis du Saltimbanque". Medium: original etching and aquatint with drypoint. Catalogue reference Bourcard/Goodfriend 76. Published in 1902 by Revue de l'art ancien et moderne, in a small edition of probably no more than 750 impressions. Plate size: 85 x 112 mm - (3 3/8 x 4 1/2 inches). Signed in the plate with the Buhot owl monogram signature (not hand-signed). A rich impression with plate tone on wove paper with full margins.

Medium: lithograph (after the maquette for the stained glass window at the Chapelle St. Bernard). Executed for Derriere le Miroir (No. 148) in 1964, and published in Paris by Maeght. This lithograph was published on the occasion of the inauguration of the Fondation Marguerite et Aime Maeght. Sheet size: 15 x 11 inches (380 x 275 mm). Signed by Georges Braque in the stone (not by hand).

Medium: original serigraph. Published in Milan by Groupe Espace for the very rare 1958 volume of Documenti d'Arte d'Oggi. Sheet size (slightly trimmed): 11 x 8 3/8 inches (282 x 213mm). Signed in the plate, not hand-signed. There is some minor aging to the paper. A magnificent, rich impression!

Medium: serigraph / silkscreen. This magnificent print was published in Milan in 1954 by Groupe Espace for the very rare Documenti d'arte d'oggi. A beautiful, rich impression! Sheet size 12 1/2 x 8 1/2 inches (318 x 220 mm). Signed in the plate, not hand signed.

Condition: there is some wear along the right side of the sheet.

The Movimento arte concreta (Concrete Art Movement), also known as MAC, was founded in Milan in 1948 by a group of Italian artists with their own unique aesthetic; principal among them were Atanasio Soldati, Gillo Dorfles, Bruno Munari and Gianni Monnet. The print offered here is a product of this movement, which brought together a number of artists who contributed original lithographs or serigraphs to this 1954 project. Among the artists represented in this portfolio were: Enrico Baj, Enrico Bordoni, Joe Colombo, Nino Di Salvatore, Asger Jorn, Plinio Mesciulam, Gianni Monnet, Bruno Munari, Bruna Pecciarini, Mauro Reggiani, Atanasio Soldati and Luigi Veronesi. Vintage original prints by many of these artists are rarely encountered today.

Medium: original lithograph. Published in Paris in 1904 by Revue de l'art ancien et moderne. Beautifully printed on china paper, and tipped (mounted along the top edge) by the publisher onto a support sheet. Image size: 9 1/2 x 7 1/4 inches (242 x 185mm). Signed by Albert Belleroche in the stone (not by hand).

Medium: original etching. From the rare 1897 portfolio "Art et Nature" by Leon Roger-Miles, published in Paris by Boudet in an edition of 525. A beautiful impression on Marais wove paper, the plate size is 7 x 5 inches (180 x 125 mm). Not signed.